The title for Verklärung comes undoubtedly from Strauss' tone poem which he wrote exactly at the same age as I am at the moment and that was a spontaneous idea which came to my mind instantly after I have been proposed to write a piece in response to Strauss' music. The reasoning behind this is not too difficult to unveil as majority of my works dwell upon similar spiritual ideas. The idea of death and enlightened catharsis is also seminal to my chamber opera The Mirror which was premiered not long ago, as well as the Flute Sonata Midnight Prayers and Faith, Hope, Love for Orchestra. Meanwhile in this particular choice there is also a personal aspect as the work is written in memory of my grandmother Maria, whom I lost a month ago. In the compositional aspect the piece continues my work on developing my Morphing Modality, a new approach to pitch organization based on certain principles that I have observed in the Medieval Bulgarian-Orthodox chanting tradition. Meanwhile the work is deliberately avoiding the use of any special sonic effects and surface flourishes and relies mainly on harmony and texture to build a monumental structure with the depth and seriousness of a memorial.